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Wood Butcher

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Everything posted by Wood Butcher

  1. In this instance, I would suggest you look for long established businesses, which are personally recommended by numerous players. Ask around at your next gigs, soon you will have a shortlist.
  2. There was a thread recently about a jig for holding a bridge in place during feet shaping, so I think yes, over time more and more skills will be lost, and need for a using guide will increase substantially. Already so many hand skills have been lost from the last few hundred years, which is a great shame. What people achieved, day in, day out, with simple tools and a high level of ability is quite incredible. In the internet age, there seems to be a growing trend for shortcuts and stupidity, instead of learning properly, because well… that would require some effort. In 100 years will anything be done by hand?
  3. Do not waste your time with this glue.
  4. Did the “luthier” have any recognised qualifications, or are they self taught and clueless?
  5. I don’t purfle on a closed body, so it’s not an issue for me. I do like the handle to be below the edge of the plate, I find this gives it better stability, and less likely to tilt over, plus I can see what I’m doing easier.
  6. https://int.gewamusic.com/product/12408/gewa-purfling-cutters.html
  7. If this is indeed the violin in question, I am confused as to why it would not be possible to obtain a dendrochronology date. It seems that though the rings are wide, there are quite a few of them. How many are needed to obtain a date, or even a date range? One thing I have noticed on the Cremonese violins I've seen personally, those with the hazel figure (bearclaw) in the spruce, were of a much finer grain, the hazel flecks were quite small, and often ran at an angle of below 30, up to 45 degrees. The type of spruce in the instrument above is very different, wide, and with large flecks running right across the top, at almost 90 degrees to the grain. Does anyone know of Cremonese makers from the period in question, who used spruce like this?
  8. https://www.thestradshop.com/store/product-category/lutherie/lutherie-posters/
  9. I'd suggest you get the restorer to order the pegs, tailpiece, endbutton, chinrest etc. for you. If bought separately, the wood may not match, even if it is the same species. Tempel are a good make, I'm sure you can get them from different places too. Each country seems to have its own specialist go to guy, but if we are talking of carved boxwood, expect the costs to be considerable.
  10. Though you seem to forget, German made violins & bows were imported by many countries. Your idea that having the place of origin, means it was related to the McKinley Tarrif, imported to America, and therefore everything with an origin on the label must date after 1890, doesn’t really hold up. The OP is located in the U.K. I expect the violin was imported from Markneukirchen to the U.K. when new, and hasn’t left since.
  11. All very true. On the OP instrument, the maple is heavily burned by the stains, but it does not look like they attempted to stain the spruce.
  12. The pigmented wash goes over an already sealed surface.
  13. You are replying to a post from 17 years ago. Since that time, Jacob has unfortunately passed away.
  14. It sounds that you still have a reasonable amount left, so all should be ok in the end.
  15. I think the main reason Kimon uses PVA, is simply that he finds it easier to use, being premade and ready to go straight from the bottle. Using hide glue correctly requires skill and experience, for good results. Many fail at this, and look for the easiest solution in its place. So rather than learning what to do correctly, do something else, and then make up reasons why their choice is somehow superior.
  16. This is the standard Chinese varnishing technique, to create a basic antiqued look, with the minimum of effort. From the very burnt flames, it is clear that most of the colour on the back, ribs, scroll comes from different stains, applied directly to the wood. The grains on the top have been enhanced by either brushing varnish across the top, so it collects more between the soft parts of the grain, or it could also come from a pigmented wash, which is then wiped away across the top, so that pigment is left in the grain lines.
  17. What did you do, which has seemingly caused the neck elevation to rise? Or you lowered the existing bridge a bit much?
  18. There are cases, when the titles are bestowed by one’s peers out of respect for their abilities. This, for me, is the only real way to be a maestro.
  19. It’s worth remembering that anyone can post videos on YouTube, and spout out anything they like, with reasons to support their nonsense. It doesn’t mean it’s the accepted way, or would be used by anyone with proper training. Even referring to oneself as maestro seems pretentious. A bit like how there are so many “master” violin makers in America, even though there is no actual qualification one can obtain there, to bestow such a title.
  20. This was my understanding too, usually it says something to that effect.
  21. It’s common for peg ornaments to come loose, and as you have now discovered, cause a buzz. Often the collars are worse for this than the pips. If you don’t feel happy to glue it back yourself, just keep them somewhere safe until you take your viola for work. The ornaments don’t affect the function of the peg. As for the crack, if that is indeed what it is, just be a bit careful with that peg. Don’t crank it hard, and keep an eye on it to make sure it’s not spreading.
  22. You seem very excited, well done.
  23. Firstly, do you feel this bow is even a genuine Hill workshop bow? It would seem unlikely that Retford was making the low grade bows, and the markings you are describing as the same for both makers, are quite different when you see them in person. Unfortunately, as the info about the makers marks, assembly marks etc. is well known, and easy to find, a lot of bows are being doctored at the face to "upgrade" them.
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